Reviews

Dois bons atores sendo o principal

Capa belíssima

Not a perfect film. Not a world I think we want to acknowledge as having its own truth, but it is one of the more beautiful films I've seen at the festival. I will give Ms.Sriram the benefit of all my doubts and say she will have a great career once she focuses on a tightly written story over just a beautiful vision.
So, a pass, but not top of the class...
...yet.

It delves into bourgeois boredom and desire of the middle class with just the right touch. Memories, dreams, and reality intertwine so seamlessly you can’t tell what’s real. The ringing phone becomes the relentless call of desire—never fading, only growing stronger. And the tragic ending? That’s real life.

Even Buñuel's most popular film cannot escape formalism and dream metaphors, depicting human nature from the plight of the middle class. This insight is twofold, that is, for all kinds of men, and for Selina herself. The design of the dream is typical of Buñuel's style. There is only a dream but not a dream. In the end, the real and the fake are mixed and integrated.

If someone accuses documentaries of manipulating actors and cherry-picking facts, why not film the process of manipulation too? This movie does just that, adding the actors’ reactions and the audience’s reflections to the final cut. Unlike traditional films that immerse viewers in the illusion, this one opens by declaring, “We are making a movie.” The directors’ commentary at the end serves as a critique of fiction itself, boldly declaring, “We have nothing to hide.”

Since cameras can lie, the only honest approach seems to be making a documentary about filming a documentary. Or just admit that people can’t “fake it” in front of the camera for long—they’ll revert to their true selves after a few minutes. That is what the director did.

The three patients symbolize the Korean War, racial discrimination, and Cold War threats. The symbolism and color inserts heighten the critique but make the segments feel less cohesive. Samuel Fuller’s storytelling isn't meant for precision but for grabbing attention, reflecting his background as a journalist.

The opening brilliantly leverages light and shadows and the corridor’s depth-of-field to evoke an oppressive, unsettling mood. The asylum stands in for America itself, with the three witnesses embodying the ills of our society. The hallucination of the rainstorm captures the collapse of a fractured mind, and the director’s portrayal of schizophrenia is accurate. The interplay between black-and-white and color imagery is particularly inventive and underscores the film’s emotional changes.

Rewatching this film made me realize it’s even better than I remembered. Every shot, angle, and frame carries unique meaning. The ending is particularly powerful. Why did Shaw make that choice at the end of his life? It’s clear someone was watching all along.

The film maintains a smooth pace with a gradual build-up of tension. The two dream sequences at the beginning are particularly brilliant, seamlessly blending reality and dreams through montage. The plot is bizarre, and the details don’t hold up to scrutiny, but it’s still fantastic.

This is nearly a perfect piece of art. Watching it reminded me of The Tale of the Princess Kaguya from 2014—both are based on legends, both feature exquisite artistry, and both are heartbreaking films. Though the East and West have vastly different religions, it's truly moving that both share a deep, universal appreciation of beauty.

The animation is stunningly beautiful, but the story can feel a bit emotionally detached. The director can’t resist weaving in his religious beliefs, but even so, it’s a clear step up from The Secret of Kells.

The story is full of twists and details. While it’s not laugh-out-loud funny, it’s packed with clever moments, including some refreshing takes on genre tropes. Both actresses deliver outstanding performances.

The biggest surprise of this movie is how it manages to feel like a comedy even though it’s a suspense thriller. Anna Kendrick nails her role as a goofy, neurotic character with a touch of cunning. If only it had gone with a lesbian ending—that would’ve been amazing!

From start to finish, the tension is suffocating. Each word from the doctor sends chills—beginning with empathy, then shock, and finally deep heartbreak. The overwhelming despair washes over you in relentless waves, especially when you realize these women’s suffering persists today, transcending time and borders.

Watching this film feels like taking a sip of plain water only to spill it all over the place. It’s hard to believe such a raw, female-driven story was crafted by a male director.

From the perspective of female awakening, Jennifer’s love for Needy is so intense that it destroys any chance of her loving someone else. Meanwhile, Needy willingly becomes Jennifer’s devoted sidekick. Undeniably, this is a film about female love.

It is not scary at all. What is this movie even trying to say? It juggles so many themes that it ends up feeling incoherent.

The film lays bare how one person’s profound disillusionment with society ripples outward, triggering a chain reaction that affects everyone around them. This thoughtful exploration avoids simplistic blame, instead offering deeper insights and more meaningful reflections.